METHODS IN THE ART OF TAXIDERMY. 345 



Fig. 6, Plate LXXXIX. The entire inside and edges of the mould 

 must be painted with shellac and then carefully coated with oil. 

 Plaster of Paris and water should be mixed to the consistency of cream 

 and poured in the mould, which should be constantly shaken until the 

 plaster has settled in every part of the impression made by the fish. 

 This, too, will prevent air-bubbles from forming in the cast. You may 

 keep on building out the plaster until you have made a square slab on 

 which your cast, when the mould is chiseled off, will stand in bold relief. 

 The finishing lies in neatly pointing up the surface here and there which 

 is sometimes pitted with air-bubbles, taking the rough edges off the back- 

 ground, and, finally, the coloring, which is a very important part. This 

 is a quick and simple method of making a cast of a fish when only 

 one copy is desired. When several copies of the cast are wanted the 

 piece mould is the proper method to employ. Casts of fishes may be 

 painted and mounted on polished medallions with fine effect, or on 

 brass rods previously prepared and inserted in the mould before filling 

 in the plaster. 



Casting Reptiles. — In casting reptiles both the piece mould and 

 waste processes are used, according to the formation of the subject. 

 If it be a serpent and its attitude is to be that of fighting or striking 

 a wire for support must be placed in the mould and the plaster poured 

 in around it. The piece mould for making the casts of some reptiles 

 is often divided into numerous, intricate sections, requiring considerable 

 ingenuity in their preparation. They are in this case taken away from 

 the cast, piece by piece. 



Painting Plaster Casts of Fishes and Reptiles. — After you have 

 pointed up the air-bubbles or other defects in your cast and allowed it 

 to become thoroughly dry, begin to carefully and artistically put on the 

 oil colors, reproducing all the varied tints as they appear in the freshly 

 caught specimen. When the first coat has been laid on, give the entire 

 surface a coat of enamel varnish, and, when this is dry, go over the cast 

 a2:ain for the final artistic touches. If vou are an artist and can blend 

 colors you will have an opportunity to display your ability here. On 

 page 62 are given directions for mixing tints, and elsewhere in the work 

 will be found the manner of laying on colors. There are absolutely 

 no rules for putting on these final touches, upon which the beauty of 

 the finished piece so much depends. The greatest care and delicacy 

 of touch, with a knowledge of blending and applying colors, are neces- 

 sary to produce a highly artistic and natural ejffect. 



